童話故事跨文化體裁研究

前言

近年來，體裁研究引起學(xué)者廣泛關(guān)注，它對文本分析和語言教學(xué)實踐都有重要意義。本項研究以體裁理論為基礎(chǔ)，致力于探討童話語料體裁分析框架的建構(gòu)及應(yīng)用，這一研究將是對體裁分析理論有益的補充，同時對以體裁分析為基礎(chǔ)的語言教學(xué)實踐有一定指導(dǎo)意義。在分析總結(jié)體裁理論不同流派特點的基礎(chǔ)上，本項研究將特殊用途英語體裁理論和新修辭學(xué)派體裁理論相結(jié)合，認為體裁是特定社會文化語境的主要反射，是語言形式和意義的主要載體。體裁分析超越了對語篇語言特征的簡單描述，尋求語篇語言特征的社會文化成因，探討語篇建構(gòu)的有效方式。根據(jù)童話故事自身的特點，體裁的社會交際性和語言本體性在童話中能夠全部得以體現(xiàn)，本項研究提出了一個童話體裁分析框架（GenreAnalysisofFairyTales）。該框架包含三個視角：社會認知視角、語言學(xué)視角和語言教學(xué)視角。討論童話的社會文化和認知意義為語言學(xué)視角提供了研究背景；分析童話文本的體裁結(jié)構(gòu)和語言特點為語言教學(xué)視角提供了研究平臺；提出童話體裁寫作教學(xué)框架使本項研究的應(yīng)用性落到了實處。本項研究在選取語料過程中從分類學(xué)的角度，從五個國家選取了七十五篇經(jīng)典童話。在分析語料過程中采取了四重分析模式，即對童話的社會文化層次、認知層次、體裁結(jié)構(gòu)層次和語言特征層次進行統(tǒng)計與分析。通過對經(jīng)典童話全方位的體裁分析之后，本項研究詮釋了童話在當代的文化意義和認知意義。

內(nèi)容概要

　　《童話故事跨文化體裁研究》在選取語料過程中從分類學(xué)的角度，從五個國家選取了七十五篇經(jīng)典童話。在分析語料過程中采取了四重分析模式，即對童話的社會文化層次、認知層次、體裁結(jié)構(gòu)層次和語言特征層次進行統(tǒng)計與分析。通過對經(jīng)典童話全方位的體裁分析之后，本項研究詮釋了童話在當代的文化意義和認知意義。

作者簡介

楊慧，女，1979年出生于遼寧黑山縣。北京郵電大學(xué)人文學(xué)院外語系講師。2008年畢業(yè)于清華大學(xué)外語系英語語言文學(xué)專業(yè)，獲文學(xué)博士學(xué)位。主要從事的學(xué)術(shù)研究領(lǐng)域為：應(yīng)用語言學(xué)、社會語言學(xué)、網(wǎng)絡(luò)文化。主要開設(shè)的課程有：英語詞匯學(xué)、英語文體學(xué)、高級英語、研究生英語聽說。

書籍目錄

Chapter Ⅰ Introduction1.1 Purposes of the study1.2 Significance of the study1.2.1 Socio-cultural significance/21.2.2 Linguistic significance/41.2.3 Pedagogical significance/51.3 Research questions1.4 Methodology and data collection1.4.1 Methodology/71.4.2 Data collection/81.4.3 Procedures/121.5 Organization of the studyChapter Ⅱ Literature Review2.1 Introduction2.2 Definition of fairy-tale text2.3 Perspectives of the fairy-tale research2.3.1 A folkloristic perspective.2.3.2 An anthropological perspective2.3.3 A psychological perspective,2.3.4 A narrative perspective2.4 Summary of the relevant studies2.4.1 Significance of socio-cognitive perspective2.4.2 Significance of linguistic perspective2.4.3 Significance of pedagogical perspectiveChapter Ⅲ Theoretical Foundations3.1 Introduction3.2 Genre and genre analysis3.2.1 Malinowski: Language as symbolic action.3.2.2 Austin: Speech act theory3.2.3 Bakhtin: Speech genre3.2.4 Marth: Functional analysis of genre3.2.5 Swales: Genre conceptions in The ESP School3.2.6 Miller: Genre theories in The New Rhetoric School3.2.7 Feez: Genre learning and teaching3.3 Summary of genre theories3.4 Constructing a generic framework for fairy tales3.4.1 Necessity of constructing a framework3.4.2 Possibility of constructing a framework3.4.3 A suggested framework: Genre analysis of fairy talesChapter Ⅳ A Socio-cultural Analysis of Fairv-tale Text  4.1 Introduction4.2 Language and cuIture4.3 Fairy tales and culture4.3.1 Fan'y tales are embedded　cultural context4.3.2 Fa　tales embody cultural vahes／804.4 Socio-cultural significance of fairy tales4.4.1 Introduction4.4.2 Statistics of cukural topics in fairy tales4.4.3 Analysis of cukural topics4.5 Conclusion of socio-cultural significance..Chapter Ⅴ A Cognitive Analysis of Fairy-tale Text5.1 IntrodUctlon5.2 Magic：A cognitive element in fairy tales5.3 Magic and its cognitive functions5.3.1 Introduction5.3.2 Statistics of magical representations in fairy tabs5.3.3 Analysis ofmagic5.3.4 CognRwe mechanism of magic5.4 Conclusion of cognitive significanceChapter Ⅵ A Typological Analysis of Fairy-tale Text6.1 Introduction6.2 Generic structures6.3 Statistics of generic structures of fairy tales6.3.1 Linear generic structure6.3.2 Comparative generic structure6.3.3 Mixed generic structure6.3.4 Generic structures in German faky tales6.3.5 Generic structures in Danish fairy tales,6.3.6 Generic structures in British fairy tales6.3.7 Generic structures in Chinese fairy tales6.3.8 Generic structures in Japanese fairy tales6.4 Conclusion of generic structuresChapter Ⅶ A Linguistic Analysis of Fairy-tale Text7.1 Introduction7.2 Linguistic features7.3 Discourse connectives7.3.1 Introduction7.3.2 Statistics of discourse connectives in fah-y tales7.3.3 Analysis of discourse connectives7.4 Attitude markers7.4.1 Introduction7.4.2 Statistics of attitude markers in fairy tales……Chapter Ⅷ A TEFL A nalysis of Fairy-tale TextChapter Ⅸ Conclusions

章節(jié)摘錄

插圖：Studies show that even advanced learners with a high proficiency ofEnglish language have problems with written discourse at the level of textorganization （Dudley-Evans, 1995; Johns, 1995; Prior, 1995）. Englishwriting is difficult. A learner today needs to know not only how to writea specific genre but also what to write and how to write in differentwriting scenes. Learning to write successfully is a complex and lifelongprocess, where writing and reading skills continue to develop adulthoodthrough the interiorization of language tools and systems in various con-texts （Vygostsky & Luria, 1994）. Several studies show that an essentialpart of writing success depends on understanding the nature of writtendiscourse, and experienced writers and readers come to see texts as rhe-torically based actions within specific contexts, within social and culturalstructures （Berkenkotter, Huckin & Ackerman, 1988; Haas, 1994; Gei-sler, 1994）. It is more and more apparent that learners need to learn howto think in order to have creativity in different writing scenes. How tothink and how to write are equally important points （Yang Yonglin,2004）. The cultivation of an individual's creativity requires their interestsand motivations. No doubt, almost everybody likes fairy tales, why is thisso？ Fairy tales have attracting plots, moving stories, and aesthetic ormoral themes, and they can awaken the imagination and soften the heartsof people. Therefore, fairy tales might be a good starting point for genre-writing teaching.

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《童話故事跨文化體裁研究》由廣西師范大學(xué)出版社出版。

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